text:
1795–1820 in Western fashion
Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwig, and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true-self than as a pure indication of social status.[1] As a result, the shifts that occurred in fashion at the turn of the 19th century granted people the opportunity to present new public exterior identities that provided insights into their individual private selves. Katherine Aaslestad indicates how "...fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."[2] For women's dress, the day to day outfit of the skirt and jacket style were practical and tactful, recalling the working class woman.[3] Women's fashions followed classical ideals, and tightly laced corsets were temporarily abandoned in favor of a high-waisted, natural figure.[4] This natural figure was emphasized by being able to see the body beneath the clothing. Visible breasts were part of this classical look, and some characterized the breasts in fashion as solely aesthetic and sexual.[5] In Britain, Beau Brummell introduced trousers, perfect tailoring, and unadorned, immaculate linen as the ideals of men's fashion. In Germany, republican city-states relinquished their traditional, modest, and practical garments and started to embrace the French and English fashion trends of short-sleeved chemise dresses and Spencer jackets.[6] American fashion trends emulated French dress, but in a toned down manner with shawls and tunics to cope with the sheerness of the chemise.[7] However, in Spain, members of the Aristocracy, as well as citizens of the lower class, united and rebelled against French enlightenment ideals and fashion by dressing as majas and majos to contain their Spanish pride.[8]
By the end of the eighteenth century, a major shift in fashion was taking place that extended beyond changes in mere style to changes in philosophical and social ideals. Prior to this time, the style and traditions of the "ancien-regime" prevented the conceptualization of "the self". Instead, one's identity was considered malleable; subject to change depending on what clothes one was wearing. However, by the 1780s, the new, "natural" style allowed one's inner self to transcend their clothes.[9] During the 1790s, there was a new concept of the internal and external self. Before this time, there had only been one self, which was expressed through clothing. When going to a masquerade ball, people wore specific clothing, so they could not show their individuality though their clothing. Since, for everyday dress, most people wore similar clothing, people used accessories to show their individuality. These accessories and the detail on the clothing were more important than the shape of the dress.[9] Incorporated in this new "natural" style was the importance of ease and comfort of ones dress. Not only was there a new emphasis on hygiene, but also clothing became much lighter and more able to be changed and washed frequently. Even upper class women began wearing cropped dresses as opposed to dresses with long trains or hoops that restricted them from leaving their homes. In a sense, women were influenced by male fashion, such as tailored waistcoats and jackets to emphasize women's mobility. This new movement toward practicality of dress showed that dress no longer was a way to categorize between classes or genders; dress was meant to suit ones personal daily routine.[10]
- 1 Changes in Fashion in the Period
- 2 Women's fashion
- 3 Men's fashion
- 4 Children's fashion
- 5 Revival of Directoire/Empire/Regency fashions
- 6 See also
- 7 Footnotes
- 8 References
- 9 Further reading
- 10 External links
Changes in Fashion in the Period[edit]
- Women: "age of undress";[11] dressing like statues coming to life;[12] filet-Greek classical hairstyle; simple muslin chemise w. ribbon; sheer; empire silhouette; pastel fabrics; natural makeup; bare arms; blonde wigs; accessorized with (to demonstrate individuality): hats, turbans, gloves, jewelry, small handbags - reticules, shawls, handkerchiefs;[13] parasols; fans; Maja: layered skirt
- Men: trousers w. perfect tailoring; linen; coats cutaway in the front w. long tails; cloaks; hats; the Dandy; Majo: short jacket
- Women: short hair; white hats;[11] trim, feathers, lace; Egyptian and Eastern influences in jewelry and apparel; shawls; hooded-overcoats; hair: masses of curls, sometimes pulled back into a bun
- Men: linen shirts w. high collars; tall hats; hair: short and wigless, à la Titus or Bedford Crop, but often with some long locks left coming down
- Women: soft, subtle, sheer classical drapes; raised back waist of high-waisted dresses; short-fitted single breasted jackets;[13] morning dress; walking dress; evening dress; riding habits; bare bosoms and arms; hair: parted in the center, tight ringlets over the ears[14]
- Men: fitted, single-breasted tailcoats; cravats wrapped up to the chin; sideburns and "Brutus style"[15] natural hair; tight breeches; silk stockings; accessorized with: gold watches, cane, hats outside.
- Women: dress waist lines began to drop; elaborate hem and neckline decoration; cone-shaped skirts; sleeves pinched
- Men: overcoats/greatcoats w. fur of velvet collars; the Garrick coat;[16] Wellington boots; jockey boots
Women's fashion[edit]
In this period, fashionable women's clothing styles were based on the Empire silhouette — dresses were closely fitted to the torso just under the bust, falling loosely below. In different contexts, such styles are commonly called "Directoire style" (referring to the Directory government of France during the second half of the 1790s), "Empire style" (referring to Napoleon's 1804–1814/1815 empire, and often also to his 1800–1804 "consulate"), or "Regency" (most precisely referring to the 1811–1820 period of George IV's formal regency, but often loosely used to refer to various periods between the 18th century and the Victorian).
These 1795–1820 fashions were quite different from the styles prevalent during most of the 18th century and the rest of the 19th century, when women's clothes were generally tight against the torso from the natural waist upwards, and heavily full-skirted below (often inflated by means of hoop-skirts, crinolines, panniers, bustles, etc.). The high waistline of 1795–1820 styles took attention away from the natural waist, so that there was then no point to the tight "wasp-waist" corseting often considered fashionable during other periods. Without the corset, chemise dresses displayed the long line of the body, as well as the curves of the female torso.[6]
Inspired by neoclassical tastes, the short-waisted dresses sported soft, loose skirts and were often made of white, almost transparent muslin, which was easily washed and draped loosely like the garments on Greek and Roman statues. Since the fabric clung to the body, revealing what was underneath, it made nudity à la grecque a centerpiece of public spectacle.[17] Thus during the 1795–1820 period, it was often possible for middle- and upper-class women to wear clothes that were not very confining or cumbersome, and still be considered decently and fashionably dressed.
Among middle- and upper-class women there was a basic distinction between "morning dress" (worn at home in the afternoons as well as mornings) and evening attire — generally, both men and women changed clothes in preparation for the evening meal and possible entertainments to follow. There were also further gradations such as afternoon dress, walking dress, riding habits, travelling dress, dinner dress, etc.
In the Mirror of Graces; or the English Lady's Costume, published in London in 1811, the author ("a Lady of Distinction") advised:
In the morning the arms and bosom must be completely covered to the throat and wrists. From the dinner-hour to the termination of the day, the arms, to a graceful height above the elbow, may be bare; and the neck and shoulders unveiled as far as delicacy will allow.[18]
- Morning dresses were worn inside the house. They were high-necked and long-sleeved, covering throat and wrists, and generally plain and devoid of decoration.
- Evening gowns were often extravagantly trimmed and decorated with lace, ribbons, and netting. They were cut low and sported short sleeves, baring bosoms. Bared arms were covered by long white gloves. Our Lady of Distinction, however, cautions young women from displaying their bosoms beyond the boundaries of decency, saying, "The bosom and shoulders of a very young and fair girl may be displayed without exciting much displeasure or disgust."
A Lady of Distinction also advised young ladies to wear softer shades of color, such as pinks, periwinkle blue, or lilacs. The mature matron could wear fuller colors, such as purple, black, crimson, deep blue, or yellow.
Many women of this era remarked upon how being fully dressed meant the bosom and shoulders were bare, and yet being under-dressed would mean one's neckline went right up to one's chin.[citation needed]
Hairstyles and headgear[edit]
During this period, the classical influence extended to hairstyles. Often masses of curls were worn over the forehead and ears, with the longer back hair drawn up into loose buns or Psyche knots influenced by Greek and Roman styles. By the later 1810s, front hair was parted in the center and worn in tight ringlets over the ears.[14] Adventurous women like Lady Caroline Lamb wore short cropped hairstyles "à la Titus", the Journal de Paris reporting in 1802 that "more than half of elegant women were wearing their hair or wig à la Titus", a layered cut usually with some tresses hanging down.[19]
In the Mirror of Graces, a Lady of Distinction writes,
Now, easy tresses, the shining braid, the flowing ringlet confined by the antique comb, or bodkin, give graceful specimens of the simple taste of modern beauty. Nothing can correspond more elegantly with the untrammeled drapery of our newly-adopted classic raiment than this undecorated coiffure of nature.[20]
Conservative married women continued to wear linen mob caps, which now had wider brims at the sides to cover the ears. Fashionable women wore similar caps for morning (at home undress) wear.[21]
For the first time in centuries, respectable but daringly fashionable women would leave the house without a hat or bonnet, previously something often associated with prostitutes. However most women continued to wear something on their head outdoors, though they were beginning to cease to do so indoors during the day (as well as for evening wear). The antique head-dress, or Queen Mary coif, Chinese hat, Oriental inspired turban, and Highland helmet were popular. As for bonnets, their crowns and brims were adorned with increasingly elaborate ornamentations, such as feathers and ribbons.[22] In fact, ladies of the day embellished their hats frequently, replacing old decorations with new trims or feathers.
Fashionable women of the Regency era wore several layers of undergarments. The first was the chemise, or shift, a thin garment with tight, short sleeves (and a low neckline if worn under evening wear), made of white cotton and finished with a plain hem that was shorter than the dress. These shifts were meant to protect the outerclothes from perspiration and were washed more frequently than outer clothes. In fact, washer women of the time used coarse soap when scrubbing these garments, then plunged them in boiling water, hence the absence of color, lace, or other embellishments, which would have faded or damaged the fabric under such rough treatment. Chemises and shifts also prevented the transparent muslin or silk dresses from being too revealing.
The next layer is a corset. However, high-waisted classical fashions required no corset for the slight of figure, and there were some experiments to produce garments which would serve the same functions as a modern bra. (In the Mirror of Graces, a "divorce" was described as an undergarment that served to separate a woman's breasts. Made of steel or iron that was covered by a type of padding, and shaped like a triangle, this device was placed in the center of the chest.[23]) "Short stays" (corsets extending only a short distance below the breasts) were often worn over the shift or chemise (not directly next to the skin), and "long stays" (corsets extending down towards the natural waist) were worn by a minority of women trying to appear slimmer than they were (but even such long stays were not primarily intended to constrict the waist, in the manner of Victorian corsets.)
The final layer was the petticoat, which had a scooped neckline and was sleeveless, and was fitted in the back with hooks and eyelets. These petticoats were often worn between the underwear and the outer dress. The lower edge of the petticoat was intended to be seen, since women would often lift their outer dresses to spare the relatively delicate material of the outer dress from mud or damp (so exposing only the coarser and cheaper fabric of the petticoat to risk). Often exposed to view, petticoats were decorated at the hem with rows of tucks or lace, or ruffles.
"Drawers" (underpants with short legs) were only beginning to be worn by a few women during this period. They were tied separately around the waist.
Stockings (hosiery), made of silk or knitted cotton, were held up by garters until suspenders were introduced in the late 19th century.
Outerwear and shoes[edit]
During this time period, women's clothing was very thin, so they had to figure out a way to cover themselves. This was definitely a problem for those living in colder climates. The mantelet was one of the solutions. It was a short cape that was eventually lengthened and made into a shawl. The redingote, another popular example, was a full-length option that could be made of different fabrics and patterns.[24] Throughout the period, the Indian shawl was the favored wrap,[25] as English town houses and the typical English country house were generally draughty, and the sheer muslin and silk dresses popular during this era provided scant protection. Shawls were made of soft cashmere or silk or even muslin for summer. Paisley patterns were extremely popular at the time.[26]
Short (high-waisted) jackets called spencers[25] were worn outdoors, along with long-hooded cloaks, Turkish wraps, mantles, capes, Roman tunics, chemisettes, and overcoats called pelisses[27] (which were often sleeveless and reached down as far as the ankles). These outer garments were often made of double sarsnet, fine Merina cloth, or velvets, and trimmed with fur, such as swan's down, fox, chinchilla, or sable. On May 6, 1801, Jane Austen wrote her sister Cassandra, "Black gauze cloaks are worn as much as anything."[28]
Thin, flat fabric (silk or velvet) or leather slippers were generally worn (as opposed to the high-heeled shoes of much of the 18th century).
Metal pattens were strapped on shoes to protect them from rain or mud, raising the feet an inch or so off the ground.
Gloves were always worn[by whom?] outside the house. When worn inside, as when making a social call, or on formal occasions, such as a ball, they were removed when dining.[29] About the length of the glove, A Lady of Distinction writes:
If the prevailing fashion be to reject the long sleeve, and to partially display the arm, let the glove advance considerably above the elbow, and there be fastened with a draw-string or armlet. But this should only be the case when the arm is muscular, coarse, or scraggy. When it is fair, smooth, and round, it will admit of the glove being pushed down to a little above the wrists.[30]
Longer gloves were worn rather loosely during this period, crumpling below the elbow. As described in the passage above, "garters" could fasten longer gloves.
Reticules held personal items, such as vinaigrettes. The form-fitting dresses or frocks of the day had no pockets, thus these small drawstring handbags were essential.
Parasols (as shown in the illustration) protected a lady's skin from the sun, and were considered an important fashion accessory. Slender and light in weight, they came in a variety of shapes, colors, and sizes.
Fashionable ladies (and gentlemen) used fans to cool themselves and to enhance gestures and body language. Made of paper or silk on sticks of ivory and wood, and printed with oriental motifs or popular scenes of the era, these ubiquitous accessories featured a variety of shapes and styles, such as pleated or rigid. An information sheet from the Cheltenham Museum describes fans and their use in body language and communication (click and scroll to page 4).[31]
Directoire (1795–1799)[edit]
By the mid-1790s, neoclassical clothing had come into fashion in France.[32] Several influences had combined to bring about this simplification in women's clothing: aspects of Englishwomen's practical country outdoor-wear leaked up into French high fashion, and there was a reaction in revolutionary France against the stiffly boned corsets and brightly colored satins and other heavy fabrics that were in style in the ancien régime (see 1750–1795 in fashion). But ultimately, Neo-classicism was adopted for its association with classical republican ideas [with reference to Greece, rather than republican Rome, which was now considered politically dangerous].[32] This renewed fascination of the classical past was encouraged by the recent discoveries of Pompeii and Herculaneum, and would likely have not been possible outside such a specific geographic and historical setting that allowed the idea of the past made present to become paramount.[33]
Along with the influences of the Pompeii and Herculaneum excavations, several other factors came together to popularize neoclassical dress. Starting in the early 1790s, Emma Hamilton began her performances of attitudes, something that was considered by contemporaries as entirely new. These attitudes were based loosely on the ancient practice of pantomime, though Emma's performances lacked masks and musical accompaniment.[33] Her performances created a fusion between art and nature; art came alive and her body became a type of art.[34] As an aid to her performances of tragic mythological and historical figures, Emma wore the clothing á la grecque that would become popular in mainstream France in the coming years. A simple light colored chemise made from thin, flowing material was worn and gathered with a narrow ribbon under the breasts. Simple cashmere shawls were used as headdresses or to give more fullness to the drapery of the chemise. They also helped to prevent broken lines in the performance so that the outstretched arms were always connected with the body, escalating the effect of fluid movement, and oftentimes, a cape or a cloak was worn to emphasize the lines of the body in certain poses. This highlighted the continuity of surface of line and form in the body of the performer to emphasize the unity, simplicity, and continuously flowing movement from one part of the body to the next. The hair was worn in a natural, loose, and flowing fashion. All of these properties blended together to allow an extensive play of light and shadow to reveal and accent certain parts of the body during the performance, while covering others.[34] Emma was highly capable in her attitudes, and the influence of her dress spread from Naples to Paris as wealthy Parisians took the Grand Tour.
There is also some evidence that the white muslin shift dress became popular after Thermidor through the influence of prison dress. Revolutionary women such as Madame Tallien portrayed themselves in this way because it was the only clothing they possessed during their time in prison. The chemise á la grecque also represented the struggle for representation of the self and the stripping down of past cultural values.[35] Also, a simplification of the attire worn by preteen girls in the 1780s (who were no longer required to wear miniature versions of adult stays and panniers) probably paved the way for the simplification of the attire worn by teenage girls and adult women in the 1790s. Waistlines became somewhat high by 1795, but skirts were still rather full, and neo-classical influences were not yet dominant.
It was during the second half of the 1790s that fashionable women in France began to adopt a thoroughgoing Classical style, based on an idealized version of ancient Greek and Roman dress (or what was thought at the time to be ancient Greek and Roman dress), with narrow clinging skirts. Some of the extreme Parisian versions of the neo-classical style (such as narrow straps which bared the shoulders, and diaphanous dresses without sufficient stays, petticoats, or shifts worn beneath) were not widely adopted elsewhere, but many features of the late-1790s neo-classical style were broadly influential, surviving in successively modified forms in European fashions over the next two decades.
With this Classical style came the willingness to expose the breast. With the new iconography of the Revolution as well as a change in emphasis on maternal breast-feeding, the chemise dress became a sign of the new egalitarian society.[36] The style was simple and appropriate for the comfort of a pregnant or nursing woman as the breasts were emphasized and their availability was heightened. Maternity became fashionable and it was not uncommon for women to walk around with their breasts exposed. Some women took the "fashionable maternity" a step further and wore a "six-month pad" under their dress to appear pregnant.[37]
White was considered the most suitable color for neo-classical clothing (accessories were often in contrasting colors). Short trains trailing behind were common in dresses of the late 1790s.
Directoire gallery[edit]
- This portrait of the Frankland sisters by John Hoppner gives an idea of the styles of 1795.
- "Ruth entreating Naomi and Orpah to return to the land of Moab" by William Blake. Blake is not a typical neo-classicist, but this shows a somewhat similar idealization of antiquity (as well as predicting the future high fashions of the late 1790s). The particular image was composed in 1795 and is currently held by the Fitzwilliam Museum.[38]
- Leipzig fashion plate showing woman and girl wearing elegantly simple high-waisted styles, which are not strongly neoclassical, however.
- Portrait of Gabrielle Josephine du Pont.
- 1798 picture, showing a lady who seems none too warmly attired for a balloon journey in her low-cut thin-looking directoire dress.
- Fashion plate of white directoire dress worn with contrasting red shawl with Greek key border.
- A 1798 sketch of a day outfit with short "spencer" jacket (less neo-classical, though still following the empire silhouette).
- Riding habits of 1799. The habit on the right features a short jacket with tails. The green habit on the left may be a redingote rather than a jacket and petticoat.
- "TOO MUCH and TOO LITTLE, or Summer Cloathing of 1556 & 1796", a February 8, 1796 caricature engraved by Isaac Cruikshank (father of George) after a drawing by George M. Woodward. (In 1796, strongly neoclassically influenced styles were still very new in England.) Notice the single vertical feather springing from the hair of the 1796 woman.
- "Tippies of 1796", a highly stylized parody which caricatures women's feather headdresses and dandies' tight trousers, among other things.
- "Parisian ladies in their full winter dress", an over-the-top caricature by Isaac Cruikshank of allegedly excessively diaphanous styles worn in late 1790s Paris.
Empire (1800–1815)[edit]
During the first two decades of the 19th century, fashions continued to follow the basic high-waisted empire silhouette, but in other respects neoclassical influences became progressively diluted. Dresses remained narrow in front, but fullness at the raised back waist allowed room to walk. Colors other than white came into style, the fad for diaphanous outer fabrics faded (except in certain formal contexts), and some elements of obvious visible ornamentation came back into use in the design of the dress (as opposed to the elegant simplicity or subtle white-on-white embroidery of the dress of ca. 1800).
Empire gallery[edit]
- Dolley Madison wears short sleeved, light-pink dress with a high waist line. She also wears a thin, chain necklace, a golden-colored shawl, and her hair in a bun with loose waves; the simplicity, yet elegance, of her attire is typical of the era.
- 1804 French painting by Marguerite Gérard showing two different dresses, one more elaborate than the other. Note the low neckline then in fashion.
- Paris Fashion of 1804. Note the even more generous neckline.
- Conservative fashion: Mob cap of c. 1805 is pleated in the front and has a narrow frilled brim that widens to cover the ears. America.
- Mrs Harrison Gray Otis wears a dress with a sheer top layer over a partial lining and a patterned shawl. She wears a gold armlet on her left arm. Her hair is styled in loose waves at the temples and over her ears. Massachusetts, 1809.
- 1809 evening gown worn with elbow-length gloves.
- 1810 evening gown, shown with elbow-length gloves.
- 1810 sketch of woman in "Schute" bonnet and blue-striped dress with flounces.
- Portrait of a woman by Henri Mulard, ca. 1810.
- Marguerite-Charlotte David wears a simple white satin evening gown and the ubiquitous shawl. Her headdress is trimmed with ostrich plumes.
|Wikimedia Commons has media related to 1810s fashion.
- "The Fashions of the Day, or Time Past and Present", a caricature purporting to show the provocative and revealing character of 1807 fashions as compared to those of the 18th century (deliberately exaggerating the contrast).
- "Three Graces in a High Wind", 1810 caricature by Gillray. A satire of clinging dresses worn with few layers of petticoats beneath.
Regency (1815–1820) gallery[edit]
This era signaled the loss of any lingering neoclassical, pseudo-Grecian styles in women's dress. While waistlines were still high, they were beginning to drop slightly. Larger and more abundant decoration, especially near the hem and neckline foreshadowed greater extravagance in the coming years. More petticoats were being worn, and a stiffer, more cone-shaped skirt became popular. Stiffness could be supplemented by layers of ruffles and tucks on a hem, as well as corded or flounced petticoats. Sleeves began to be pulled, tied, and pinched in ways that were more influenced by romantic and gothic styles than neoclassical. Hats and hairstyles became more elaborate and trimmed, climbing higher to balance widening skirts.
- 1815 walking costume
- Comtesse Vilain and her daughter wear their hair parted in the front center with tight ringlets over each ear; back hair is brushed back into a bun. 1816.
- 1817 dancing illustration, showing the beginning of the trend towards a conical silhouette.
- 1817 walking costume is heavily trimmed and tasseled.
- 1818 evening gown
- Mary Lodge wears the new fashion for rich color. Her crimson evening gown with frills at neck and sleeves is worn with an ivory shawl with a wide paisley-patterned border, 1818.
- 1819 evening gown, with ornamentation near the hem.
- "Morning dress" (for staying inside the house during the mornings and early afternoons), 1819.
- "Monstrosities of 1818", a satire by George Cruikshank of the female trend towards a conical silhouette, and male high cravats and dandyism.
Men's fashion[edit]
This period saw the final abandonment of lace, embroidery, and other embellishment from serious men's clothing outside of formalized court dress—it would not reappear except as an affectation of Aesthetic dress in the 1880s and its successor, the "Young Edwardian" look of the 1960s. Instead, cut and tailoring became much more important as an indicator of quality.[16]
This was also the period of the rise of hair wax for styling men's hair, as well as mutton chops as a style of facial hair.
Breeches became longer—tightly fitted leather riding breeches reached almost to the boot tops—and were replaced by pantaloons or trousers for fashionable street wear. Coats were cutaway in front with long skirts or tails behind, and had tall standing collars. Lapels were not as large as they had been in years before and often featured an M-shaped notch unique to the period.[16]
Shirts were made of linen, had attached collars, and were worn with stocks or wrapped in a cravat tied in various fashions. Pleated frills at the cuffs and front opening went out of fashion by the end of the period.[16]
Waistcoats were high-waisted, and squared off at the bottom, but came in a broad variety of styles. They were often double-breasted, with wide lapels and stand collars. Around 1805 large lapels that overlapped those of the jacket began to fall out of fashion, as did the 18th century tradition of wearing the coat unbuttoned, and gradually waistcoats became less visible. Shortly before this time waistcoats were commonly vertically striped but by 1810 plain white waistcoats were increasingly fashionable, as did horizontally striped waistcoats.[39] High-collared waistcoats were fashionable until 1815, then collars were gradually lowered as the shawl collar came into use toward the end of this period.[16]
Overcoats or greatcoats were fashionable, often with contrasting collars of fur or velvet. The garrick, sometimes called a coachman's coat, was a particularly popular style, and had between three and five short caplets attached to the collar.[16]
Boots, typically Hessian boots with heart-shaped tops and tassels were mainstay in men's footwear. After the Duke of Wellington defeated Napoleon at Waterloo in 1815, Wellington boots, as they were known, became the rage; tops were knee-high in front and cut lower in back. The jockey boot, with a turned-down cuff of lighter colored leather, had previously been popular but continued to be worn for riding.[40] Court shoes with elevated heels became popular with the introduction of trousers
The rise of the dandy[edit]
The clothes-obsessed dandy first appeared in the 1790s, both in London and Paris. In the slang of the time, a dandy was differentiated from a fop in that the dandy's dress was more refined and sober.
In High Society: A Social History of the Regency Period, 1788–1830, Venetia Murray writes:
Other admirers of dandyism have taken the view that it is a sociological phenomenon, the result of a society in a state of transition or revolt. Barbey d'Aurevilly, one of the leading French dandies at the end of the nineteenth century, explained:
- "Some have imagined that dandyism is primarily a specialisation in the art of dressing oneself with daring and elegance. It is that, but much else as well. It is a state of mind made up of many shades, a state of mind produced in old and civilised societies where gaiety has become infrequent or where conventions rule at the price of their subject's boredom...it is the direct result of the endless warfare between respectability and boredom."
In Regency London dandyism was a revolt against a different kind of tradition, an expression of distaste for the extravagance and ostentation of the previous generation, and of sympathy with the new mood of democracy.[41]
Beau Brummell set the fashion for dandyism in British society from the mid-1790s, which was characterized by immaculate personal cleanliness, immaculate linen shirts with high collars, perfectly tied cravats, and exquisitely tailored plain dark coats[16] (contrasting in many respects with the "maccaroni" of the earlier 18th century).
Brummell abandoned his wig and cut his hair short in a Roman fashion dubbed à la Brutus, echoing the fashion for all things classical seen in women's wear of this period. He also led the move from breeches to snugly tailored pantaloons or trousers, often light-colored for day and dark for evening, based on working-class clothing adopted by all classes in France in the wake of the Revolution. In fact, Brummel's reputation for taste and refinement was such that, fifty years after his death, Max Beerbohm, wrote:
In certain congruities of dark cloth, in the rigid perfection of his linen, in the symmetry of his glove with his hand, lay the secret of Mr Brummell's miracles.
Not every male aspiring to attain Brummel's sense of elegance and style succeeded, however, and these dandies were subject to caricature and ridicule. Venetia Murray quotes an excerpt from Diary of an Exquisite, from The Hermit in London, 1819:
Took four hours to dress; and then it rained; ordered the tilbury and my umbrella, and drove to the fives' court; next to my tailors; put him off after two years tick; no bad fellow that Weston...broke three stay-laces and a buckle, tore the quarter of a pair of shoes, made so thin by O'Shaughnessy, in St. James's Street, that they were light as brown paper; what a pity they were lined with pink satin, and were quite the go; put on a pair of Hoby's; over-did it in perfuming my handkerchief, and had to recommence de novo; could not please myself in tying my cravat; lost three quarters of an hour by that, tore two pairs of kid gloves in putting them hastily on; was obliged to go gently to work with the third; lost another quarter of an hour by this; drove off furiously in my chariot but had to return for my splendid snuff-box, as I knew that I should eclipse the circle by it.[41]
Hairstyles and headgear[edit]
During this period, younger men of fashion began to wear their hair in short curls, often with long sideburns. In 1795, Pitt's hair powder tax effectively ended the fashion for wigs and powder, and new styles like the Brutus and the Bedford Crop became fashionable. Older men, military officers, and those in conservative professions such as lawyers, judges, physicians, and servants retained their wigs and powder. Formal court dress also still required powdered hair.
Tricorne and bicorne hats were still worn, but the most fashionable hat was tall and slightly conical; this would evolve into the top hat and reign as the only hat for formal occasions for the next century.[42]
Style gallery 1795–1809[edit]
- Portrait of boxer "Jem" Belcher wearing a patterned cravat and a double-breasted brown coat with a dark (fur or velvet?) collar, c. 1800.
- Watercolor of Beau Brummell by Richard Dighton.
- In this self-portrait of 1805, Washington Allston wears a tan cravat with his high white collar and dark coat. Boston.
- Rubens Peale wears a white waiscoat with a tall upright notched collar over his high shirt collar and wide cravat. America, 1807.
- Friedrich von Schiller wears a brown double-breasted coat with a contrasting collar and brass buttons. The pleated frill of his shirt front can be seen next to the knot of his white cravat, Germany, 1808–09.
- Chateaubriand has fashionably touseled hair. He wears a long redingote over his coat, tan waistcoat, white shirt and dark cravat, 1808.
- Count Victor Kochubey's collar reaches his chin, and his cravat is wrapped around his neck and tied in a small bow. His short hair is casually dressed and falls over his forehead, 1809.
- Portrait of Gwyllym Lloyd Wardle depicts him in a dark coat over a tan waistcoat and high collar and cravat, 1809.
- Elaborate embroidery remained a feature of formal court suits like this one, which pairs a red wool coat with a cloth-of-silver waistcoat, both embroidered in silver thread. Italy, c. 1800-1810. Los Angeles County Museum of Art, M.80.60a-b.
- Portrait of Danish adventurer Jørgen Jørgensen shows how Scandinavian society has viewed men's fashion in the Age of Revolution.
Style gallery 1810–1820[edit]
- Les Modernes Incroyables, a satire on French fashions of 1810; long tight breeches or pantaloons, short coats with tails, and massive cravats.
- Marcotte d'Argenteuil wears a high-collared shirt with a dark cravat, a buff waistcoat, a double-breasted brown coat with covered buttons, and a dark gray overcoat with contrasting collar (perhaps sealskin). 1810. His bicorne hat lies on the table.
- Daniel la Motte, a Baltimore, Maryland merchant and landowner, strikes a romantic pose that displays details of his white waistcoat, frilled shirt, and fall-front breeches with covered buttons at the knee, 1812–13.
- German physician Johann Abraham Albers wears a striped waiscoat under a black double-breasted coat, 1813.
- American artist Samuel Lovett Waldo wears a frilled shirt with a knotted white cravat.
- Lord Grantham wears a double-breasted coat which shows a bit of the waistcoat beneath at the waist, tight pantaloons tucked into boots, and a high collar and cravat, 1816.
- Nicolas-Pierre Tiolier wears a rich blue tailcoat and brown fall-front trousers over w hite waistcoat, shirt, and cravat. His tall hat sits on a rock, 1817.
- Unknown artist wears a double-breasted tail coat with turned-back cuffs and a matching high collar of velvet (or possibly fur). Note that, while the man's obvious wasp-like torso is not overly emphasized in a caricature-like fashion, as was often the case in male fashion plates of the day, there is a definite and deliberate nipping of the waist. It is highly likely that the sitter in this portrait wore some sort of tight-laced corset or similar undergarment. The coat-sleeves are puffed at the shoulder. He wears a white waistcoat, shirt, and cravat, and light-colored pantaloons, 1819.
Children's fashion[edit]
Skeleton suit, c. 1806
A young Charles Darwin, England, 1816
Revival of Directoire/Empire/Regency fashions[edit]
During the first half of the Victorian era, there was a more or less negative view of women's styles of the 1795–1820 period. Some people would have felt slightly uncomfortable to be reminded that their mothers or grandmothers had once promenaded about in such styles (which could be considered indecent according to Victorian norms), and many would have found it somewhat difficult to really empathize with (or take seriously) the struggles of a heroine of art or literature if they were being constantly reminded that she was wearing such clothes. For such reasons, some Victorian history paintings of the Napoleonic wars intentionally avoided depicting accurate women's styles (see example below), Thackeray's illustrations to his book Vanity Fair depicted the women of the 1810s wearing 1840s fashions, and in Charlotte Brontë's 1849 novel Shirley (set in 1811–1812) neo-Grecian fashions are anachronistically relocated to an earlier generation.
Later in the Victorian period, the Regency seemed to retreat to an unthreateningly remote historical distance, and Kate Greenaway and the Artistic Dress movement selectively revived elements of early 19th century fashions. During the late Victorian and Edwardian periods, many genre paintings, sentimental valentines, etc. contained loose depictions of 1795–1820 styles (then considered to be quaint relics of a bygone era). In the late 1960s / early 1970s, there was a limited fashion revival of the Empire silhouette.
In recent years, 1795–1820 fashions are most strongly associated with Jane Austen's writings, due to the various movie adaptations of her novels. There are also some Regency fashion "urban myths", such as that women dampened their gowns to make them appear even more diaphanous (something which was certainly not practiced by the vast majority of women of the period).
- An 1857 cartoon making fun of the contemporary distaste for early 19th century clothes.
- "Before Waterloo" by Henry Nelson O'Neil (1868), a mid-Victorian painting which deliberately does not show accurate women's styles of 1815.
- "Two Strings to her Bow" by John Pettie (1882), a later Victorian genre painting which uses the Regency period for nostalgia value.
- May Day by Kate Greenaway.
See also[edit]
- Almack's
- Beau Brummel
- Corset controversy
- Dandy
- History of fashion
- Lady Caroline Lamb
- Regency dance
- Season (society)
- White's
- ^ Aaslestad, Katherine B.: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006.
- ^ Aaslestad, Katherine B.: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006, 283.
- ^ Ribeiro, Aileen: The Art of Dress: Fashion in England and France 1750–1820, Yale University Press, 1995, ISBN 0-300-06287-7
- ^ Four Hundred Years of Fashion (Victoria & Albert Museum, V&A Publications, 1984 p. 31
- ^ Yalom, Marilyn, "A History of the Breast." (Knopf: New York, 1997)
- ^ a b Aaslestad, Katherine B.: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006, 282-318.
- ^ Low, Betty-Bright P., "Of Muslins and Merveilleuses," Winterthur Portfolio, vol 9 (1974), 29-75.
- ^ Noyes, Dorothy: "La Maja Vestida: Dress as Resistance to Enlightenment in Late 18th-century Madrid," Journal of American Folklore, vol 111, no 440, 1998, 197-217.
- ^ a b Dror Warman, The Making of the Modern Self: Identity and Culture in Eighteenth-Century England (Yale University Press, 2004), pp. 166-189, 265-278
- ^ Peter McNeil, "The Appearance of Enlightenment: Refashioning the Elites," in The Enlightenment Worlds, eds (Routledge, 2004), pp. 381-400
- ^ a b Betty-Bright P. Low, "Of Muslins and Merveilleuses," Winterthur Portfolio, vol 9 (1974), 29-75.
- ^ Karin A. Wurst, "Spellbinding: The Body as Art/Art as Body in the Cultural Practice of Attituden," Lessing Yearbook 2001, vol 33 (2001), ed. Herbert Rowland and Richard Schade, 151-181.
- ^ a b Katherine B. Aaslestad: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006, 282-318.
- ^ a b http://www.fashion-era.com/hair_hats_180040.htm
- ^ , Katherine B. Aalestad: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006, 282-318.
- ^ a b c d e f g Payne 1865, pp. 452–455
- ^ Grigsby, Darcy G. "Nudity à La Grecque." The Art Bulletin 80.2 (1998): 311-35.
- ^ "Mirror of Graces; or the English Lady's Costume". p. 95. Retrieved 4 July 2009.
- ^ Rifelj, 35
- ^ "Mirror of Graces; or the English Lady's Costume". p. 89. Retrieved 4 July 2009.
- ^ "Jane Austen Centre Magazine". Archived from the original on 2009-05-02. Retrieved 2009-03-15.
- ^ Regency Fashion and Costume
- ^ "Mirror of Graces; or the English Lady's Costume". pp. 100–101. Retrieved 4 July 2009.
- ^ Low, Betty-Bright P.; Josephine du Pont and Margaret Manigault (1974). "Of Muslins and Merveilleuses: Excerpts from the Letters of Josephine du Pont and Margaret Manigault". Winterthur Portfolio 9: 29–75. JSTOR 1180568.
- ^ a b Payne 1965, p. 447–449
- ^ Victorian Era
- ^ Hantsweb – Hampshire County Council's web site for Hampshire, England
- ^ "Letters of Jane Austen". Retrieved 4 July 2009.
- ^ Musee du Louvre (French)
- ^ "Mirror of Graces; or the English Lady's Costume". p. 130. Retrieved 4 July 2009.
- ^ Cheltenham Art Gallery & Museum
- ^ a b Cage, E. Claire (2009). "The Sartorial Self: Neoclassical Fashion and Gender Identity in France, 1797-1804". Eighteenth-Century Studies 42 (2): 193–215.
- ^ a b Hornsby, Clare (2000). "7". The Impact of Italy: The Grand Tour and Beyond. The British School at Rome. pp. 123–146.
- ^ a b Wurst, Karin A. (2001). "Spellbinding: The Body as Art/Art as Body in the Cultural Practice of Attitüden". Lessing Yearbook 2001 33: 151–181.
- ^ Freund, Amy. "The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution," Art Bulletin, vol. 93 no. 3 (2011), 325-344.
- ^ Yalom, Marilyn. A History of the Breast. New York: Alfred A. Knopf, 1997. Print.
- ^ Gelpi, Barbara C. "Significant Exposure: The Turn‐of‐the‐century Breast." Nineteenth-Century Contexts 20.2 (1997): 125-45. Print.
- ^ Morris Eaves, Robert N. Essick, and Joseph Viscomi (ed.). "Naomi Entreating Ruth and Orpah to Return to the Land of Moab, object 1 (Butlin 299) "Naomi Entreating Ruth and Orpah to Return to the Land of Moab"". William Blake Archive. Retrieved September 26, 2013.
- ^ http://upload.wikimedia.org/wikipedia/commons/5/5f/1810-Les-Modernes-Incroyables.jpg
- ^ Payne, p. 456
- ^ a b Murray 1998
- ^ Payne, p. 458
|This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. (April 2009)
- A Lady of Distinction: The Mirror of Graces, R.L. Shep, 1997. ISBN 0-914046-24-1
- Arnold, Matthew (ed.): the Works of Max Beerbohm, Bodley Head, 1921.
- Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5
- Austen, Jane: My Dear Cassandra: The Illustrated Letters, Selected and Introduced by Penelope Hughes-Hallett, Collins & Brown, 1990. ISBN 1-85585-004-4
- Baumgarten, Linda: What Clothes Reveal: The Language of Clothing in Colonial and Federal America, Yale University Press, 2002. ISBN 0-300-09580-5
- Black, J. Anderson and Madge Garland: A History of Fashion, Morrow, 1975. ISBN 0-688-02893-4
- Campbell, Cynthia: The Most Polished Gentleman: George IV and the Women in His Life, A Kudos Book, 1995. ISBN 1-86052-003-0
- de Marly, Diana: Working Dress: A History of Occupational Clothing, Batsford (UK), 1986; Holmes & Meier (US), 1987. ISBN 0-8419-1111-8
- Freund, Amy. "The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution," Art Bulletin, vol. 93 no. 3 (2011), 325-344.
- Hughes, Kristine: Everyday Life in Regency and Victorian England: From 1811–1901, Writer's Digest Books, 1998. ISBN 0-89879-812-4
- Murray, Venetia: High Society: A social History of the Regency Period, 1788–1830, Viking, 1998. ISBN 0-670-85758-0
- Payne, Blanche: History of Costume from the Ancient Egyptians to the Twentieth Century, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS
- Rothstein, Natalie (editor): A Lady of Fashion: Barbara Johnson's Album of Styles and Fabrics, Norton, 1987, ISBN 0-500-01419-1
- Simond, Louis: An American in Regency England, Pergamon Press, 1968. ISBN 0-08-007074-4
- Tozer, Jane and Sarah Levitt, Fabric of Society: A Century of People and their Clothes 1770–1870, Laura Ashley Press, ISBN 0-9508913-0-4
Further reading[edit]
- Bourhis, Katell le: The Age of Napoleon: Costume from Revolution to Empire, 1789-1815, Metropolitan Museum of Art, 1989. ISBN 0870995707
External links[edit]
- Beyond the Fringe: Shawls of Paisley Design
- Bissonette on Costume: Time Search: The Nineteenth Century: 1800 to 1829
- Cathy Decker's Regency fashion site
- Fabric and Cloth: A Listing on the Phrontistery Site
- Georgian Index
- Illustrations from the Extended Regency Period
- Jessamyn's Regency Costume Companion: Footwear
- Keeping Cool: Fans From the Art Gallery & Museum's Collection
- Regency Images:1795–1829
- The Museum of Costume, Bath
- "Black Wool Men's Suit 1800–17". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Retrieved 2007-12-09.
- Children's fashion from the 19th century
- Fashions, ca. 1795-1820, in the Staten Island Historical Society Online Collections Database
- 1790s-1810s Fashion Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries


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(NEW YORK) Rodarte
Kate and Laura Mulleavy didn't have to look far for their Fall '13 inspiration. The sister duo nodded to sunny Santa Cruz, their Cali hometown, with models stomping out in eighties-era get-ups amid a setting of neon light sticks. As for those rave-friendly splashes of light, a fun catwalk setting for a label that usually goes very bare-bones on the ambiance front, to be sure, but also another nod to their West Coast roots: the Giant Dipper roller coaster. Naturally, there were tie-dye satin gowns (outfitted here with 3-D foam bodices), hip-baring bodysuits worn under jean shorts and studded leather jackets, and acid-wash denim aplenty.
Jenny Packham
Via sweeping hems of silk and chiffon gowns, Jenny Packham transported the crowd to a 17th Century Paris intellectual salon. Anyone else want to revisit those college philosophy class notes and begin quoting Voltaire? The Brit designer's collection channeled the time's sophisticated culture quotient. Those trademark Packham pack of gowns got doused in jewel tones, along with a dusting of sparkly beading. Each mod's ribbon-tied coif lent a regal factor, too. In keeping with the sparkly theme of the dresses, the show also featured Jenny Packham accessories for autumn/winter 2013. Strong angular pieces adorned with Swarovski crystal and rose gold accents punctuated the stunning gowns in all the right places. One particular teal chiffon gown bore three quarter sleeves and a high transparent neckline peppered with colorful jewels and crystals. In the front row, Katherine Heigl, Vanessa Hudgens and gold medal gymnast Ali Reisman populated the scene. Edgy this was not, but consistent it certainly was, and that seems to be perfectly alright with Packham. "I just want to do something beautiful. I don't try to do anything clever or avant garde. I just want people to think" 'that's lovely.'" Mission accomplished!
Rolando Santana
There was no texture excluded at Rolando Santana's 2013 show, to delightful ends. From leather to lace to wool to satin, he worked it all into the Fall mix. The result? A multi-dimensional show complete with flirty dresses, edgy trou, and bold jackets. The Mexican designer also experimented with color, using bold shades of royal blue, plum, and aubergine as well as metallics. The key inspiration point du season: sculptor John Chamberlain. Arty! "His use of metal scraps and cars and crushing them into the shapes and amazing textures is really where all of this started. I love to work with black, but the market really needs color. So based on some of his sculptures we developed prints and we injected colors and metallics." Besides the threads, accessories designed by Santana made the cut, such as a lambskin "Lagunilla" clutch, as well as gloves and shoes by the designer as well. As for the fun factor of moving beyond the clothing? "It's really fun to put in your own touch in other areas!" We can't wait to see what gorgeous innovations he will come up with next!
No longer a new kid at the tents, J.Crew showed an impressive and sophisticated men's and women's collection at Lincoln Center yesterday. The direction? Quite exotic, at least in terms of where the inspiration was culled from: women's creative director Tom Mora took a vacation to Marrakech last fall and was inspired by the rich, bold colors in the city's markets, its graphically-patterned rugs, plus tile work on buildings. Thus, the punchy hues and patternwork jived nicely with J.Crew's signature style. On the men's side, designer Frank Muytjens was inspired by wide-angled David Bailey portraits from the '60s (particularly one of Michael Caine) a visit to the to the Welsh countryside and a day trip to Oxford, England. Muytjens reexamined the classics such as English tweeds, black watch fabrics, and oilcloth with stellar results. Let's get these guys on as many holidays as possible if they return with such winning impetus for upcoming collections! So, everyone can remain calm. J.Crew is doing exactly what you want them to be doing, just better than ever…

subset: commoncrawl


text:
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Negligent Driving
Over the past 30 years deaths caused by drunk drivers have plummeted, but overall traffic fatalities have increased. Why?
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text:
Wyndham Vacation Rentals®, the world's largest professionally managed vacation rental business and part of the Wyndham Worldwide family of brands (NYSE: WYN), today announced that The Borders Lodge in Beaver Creek, Colo. has completed a $1.6 million interior renovation funded by its Homeowners' Association. Beginning in the fall of this year, The Borders Lodge has undertaken renovations of its interior common areas to enhance the overall guest experience and has recently re-opened with updates for the 2013/2014 ski season.
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text:
City Poppin' [User Submitted]
Official Video for Phoenix's Street Anthem "CITY
POPPIN" feat Judge Da Boss, Keez, Juice McCain
(BWS) & Willy Northpole. (DTP) Phoenix Pioneer Az
Mike Mill, Waxx & Big Feve Ent assembled 4 of Az's
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Video features a couple Az Celebrities like Cece
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Off the Upcoming Az Mike Mill presents..."THE COME UP" Compilation...So be on the lookout Released this Spring of 2012
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text:
I forgot to include Bloomberg put all these people on his payroll to buy their silence !!! I would like to know where Mark page is working by the way? Mark also went to Harvard where guess they don't teach you simple math 1+1= we were robbed!
NYC 911 Tech Corruption FBI Treated like Maddoff see no evil
I can't express the level of exhaustion I feel like Jimmy Stewart in Mr. Smith goes to Washington but it's been years and the NYPD and internal affairs Bureau fix me being savagely attacked and I have damage to my vision! See the video at the bottom of the post and click on the about section of the YouTube about to break 21,000 views no arrests yet!!!
9:30 am adding this...
http://suzannahbtroy.blogspot.com/2014/03/mayor-bloomberg-and-his-mini-me-tipped.html Scott Stringer Mike Bloomberg HP doing a phony dance to prevent a indictments and a trial like CityTime where Mike avoided having to talk under oath
9:30 am adding this...
http://suzannahbtroy.blogspot.com/2014/03/mayor-bloomberg-and-his-mini-me-tipped.html Scott Stringer Mike Bloomberg HP doing a phony dance to prevent a indictments and a trial like CityTime where Mike avoided having to talk under oath
Bloomberg put a record number of New York City government employees on the on his payroll to buy their silence including on all the tax payer tech titanic messes started with 911 the biggest. Rose Gill Hearn got 2 kick back appointments from Mike B.
I want to forensic audit on 311 as well!
Rose was Mike's political arm! Want proof? Ask her and Preet Bharara about Richard Valcich's whistleblowing letter that gave SAIC and that was before Denault and Mazer were hired.
I want money back from Deloitte who was SAIC's auditor on CityTime and Ray Kelly made a deal with Deloitte before he left office another reason break Kelly thinks I deserve to be punched kicked and my hair ripped out blinded practically at the doctors in SoHo. And that doctor that employs the violent liar lives by Kelly by the way.
I've been up most of the night look at my blog and I dictated this to the iPhone so there were a lot of typos so I'm resending this the FBI was a lot more to say and terrible typos from the dictation app.
Dear FBI: You ignored my pleas for help August 20, 2012 and HPackard was stealing from the get go just like SAIC was on CityTime and they weren't alone. You can't go over budget $1 billion without a whole Lotta stealing going on which is what happen on 911.
I warned the FBI that the system would collapse and it did a few months after I called them Hurricane Sandy.
Cy Vance chose not to do criminal investigation as John Lui requested
in a press release May 31 2012 which Scott Stringer promptly removed from the New York City golf Comptroller website because he was going to protect the Bloomberg administration from people like me and I was at the forefront and I am at the forefront shaming Scott Stringer on top of which we need to look at the lobbyist just like CityYimr although none of them will be punished and no one in New York City government will be punished and they should. For SAIC it's Rudy's guys deputy mayors all turned lobbyist and you will find some nyc doitt connection involved with HP along with George Artz who is close to Scott Stringer and look at HP and Chuck Schumer.
When I went to testify at City Hall cas Holloway on behalf of Bloomberg put me and everyone down practically called us stupid and he said as he looked in my direction under testimony he said HP came in under budget and I wrote on my blog it's called creative accounting.
HP is one of the top 20 military contractors connected to the White House whether it's Republicans or Democrats as you can tell since they were throwing fund raising parties for Chuck Schumer?
In my opposition to the city dismissing my case I point out on the very front page that Ray Kelly is sending me a message regarding me being savagely assaulted at Dr Andrew Fagelman's that I deserve what I got because I'm a whistleblower not only about Hewlett-Packard but about an internal affairs corruption and my case is proof my cases in your face proof that internal affairs fixes for corrupt cops and by the way 911 was Ray Kelly and Bloomberg's baby.
Ray was excepting free rides on airplane!!!!!
Bloomberg said we were wrong and then he was forced to admit we were right but for right then why isn't there a criminal investigation into Hewlett-Packard where's the trial????
is just like citytime just to powerfully connected and this is a far bigger crime and citytime and what do we have?
Preet. Bharara and mike Bloomberg speaking at Harvard; Preet is desperate for PR because his pursuit of an Indian diplomat is harming US India relations.
Harvard is protecting alumnus that can't do simple math one plus one equals we were robbed the largest amount ever in New York City government history overfilled a sea of Tax Payer Titanics 911 the biggest and HP was not alone
Mike Bloomberg was prevented from a Richard Nixon resignation. Sally Goldenberg wrote Mike he looks svelte and attempted a hatchet job on the new mayor Bill de Blasio on 911 and she didn't notice HPackard was overbilling from the get-go and John lui press release? Only one Gonzalez address the press release and then everyone forgot about it.
Listen to my testimony at City Hall it's on YouTube it's on the record City Hall I call for criminal investigation 2911 I was the only want to testify that day that demanded a criminal investigation!!!!!
There is not one arrest of New York City government official for city time and at least Joe Bondy should've been arrested he was mazer's boss and children services nyc golf and Linda Gibb was their boss. Gibb tried to defend seek Seedco as aberrant thievery when under Bloomberg it was open season a revolving door of corruption and rewarding a culture of failure and city Council approved all the mega overruns!!!!!
$1 billion overrun on 911 was a whole Lotta stealing going on overbilling in my opinion and not just byHP.
When are the feds going to do something?
Mike Bloomberg via his puppet insulted us and than was forced to admit we were right and praises John Liu's audit but than nobody except me is asking where is the criminal investigation in to 911.
Bloomberg and HP --- creative fixing?
HP has biggies on NY Pension board...cozy.
Mike Bloomberg via his puppet insulted us and than was forced to admit we were right and praises John Liu's audit but than nobody except me is asking where is the criminal investigation in to 911.
Bloomberg and HP --- creative fixing?
HP has biggies on NY Pension board...cozy.
Read the front page above HP, Bloomberg, Ray Kelly on it.
Thanks and gratitude for making a difference.
ps http://www.youtube.com/watch?v=dh9TedhfthE&sns=em please help this go viral so shame MD, my attacker, NYPD and IAB thank you.


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Men - Osiris NYC83 VLC - Huit/Skull/Army
An Osiris™ classic receives the royally vulcanized treatment with the slimmed down styling and ready-to-rip design of the NYC 83 VLC.
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Shaft: 5 1⁄2 in
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Cincinnati-based E.W. Scripps Co., the parent company of WXYZ-TV, closed Monday on the purchase of MyNetwork TV affiliate WMYD Channel 20 in a $110 million cash deal that also includes the purchase of WKBW, Buffalo's ABC affiliate, from New York City-based Granite Broadcasting Corp.
Along with the deal, WXYZ announced that it will start a local 10 p.m. newscast on WMYD Monday-Friday anchored by Glenda Lewis and Malcolm Maddox beginning tonight. Chief Meteorologist Dave Rexroth with provide weather forecasts and WXYZ Sports Director Tom Leyden will provide sports coverage.
Crain's first reported Scripps' purchase of Channel 20 in February.
The deal, which has no debt financing and required Federal Communications Commission approval, brings Scripps' ABC affiliate count to 11, which will reach almost 12 percent of American households, according to a news release.
Scripps now owns 21 stations throughout the country and has a total market share of nearly 14 percent, according to the release.
It creates the second duopoly in the Detroit television market. The other is WWJ-TV Ch. 62, a CBS station, and WKBD-TV Ch. 50, a CW Network affiliate, which are owned and operated by CBS Corp.
"These stations in Detroit and Buffalo will contribute strong cash flow to our core businesses, expand our reach in one of our best markets, and expand our TV footprint in partnership with ABC," Rich Boehne, Scripps chairman, president and CEO, said in a news release.
WXYZ is Detroit's ABC affiliate.
The weekend 10 p.m. newscast will be anchored by Dave LewAllen. Meteorologist Hally Vogal will provide weather forecasts, and Sports Anchor Dave Solano will do sports coverage.
Ed Fernandez, Scripps divisional general manager and vice president and general manager of WXYZ, said in a statement that the station is "fortunate that our parent company, E.W. Scripps, has decided to invest deeper in this market."
"TV20 gives us an opportunity to expand our programming, news, and community service as we take an even bigger role in the rebirth of the city we serve."
Granite bought WMYD in 1997 for $175 million.
WMYD was formed in 2006 when FOX parent News Corp. created the MyNetworkTV network for stations orphaned by the merger of The WB Network and UPN, which resulted in the CBS- and Warner Bros.-owned The CW Network.
WMYD has a studio in Southfield. Its employees will move to the WXYZ headquarters as part of the deal. Some of the station's content is produced in Fort Wayne.
Scripps has since 1986 owned WXYZ, the broadcaster's largest television station, reaching nearly 2.7 million households in the Detroit market.
Scripps (NYSE: SSP) in 2012 reported $160 million in profit from its television stations on $903 million in company-wide revenue ($494 million of which was television).
The company's financial disclosures didn't break down by station.
The station first went on the air in September 1968 as independently owned WXON-TV Ch. 62, a UHF station. It was WDWB-TV from 1997-2006.
Kirk Pinho: (313) 446-0412, [email protected] Twitter: @kirkpinhoCDB


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How big is big, you ask? To get a clearer picture, these are the sub-groups involved in each production (from a uniquely Sapphirean perspective ;)):
p/s: don't worry Herman, we know you were supposed to receive the Best Actor award this year...the judge couldn't tell a supporting actor from a main one.
They won 'Best Choreography', together with the fighting scene guys. No further explanation needed.
4. Prop circle
-Recreating a scene from the 60s (1760s, i mean) is no small feat, and with two large backdrops to paint, plus a ship and a palace to build, the prop people got their hands full, like, most of the time. After my short scene finished, i joined the audience and overheard somebody say 'weyh, laju gila Sapphire tukar props'...Nice work guys =)
5. Costume and make-up circle
-It may not be so clear in this picture, but that costume was like old Malay 'bling-bling'. You could see it from a kilometre away on a moonlit night. Ok, maybe i exaggerated, but it was really shiny, and the costume people did an elaborate job of finding something to make everyone look good..=) If you look closely in the picture, you can see the cursed version of Tenggang, looking like a rock star.
In the opening scene, the sultan, his daughter and his son-in-law all wore blue..so Sapphire-ish.
6. Technical circle
-What's a good story without winning technicals (lighting, OST, etc.)?
Yeah..brag all about it ;)
And the secret weapon for Sapphire:
7. 'Pit-Stop' crew
- Between scenes 1 & 2, i had to change into different clothes. So i hid behind the curtains and..stripped, while 3 or 4 people put me into 4 pieces of clothing. It was done in more or less 1 minute. I feel like a race car. Thank you 'pit stop' crew! B)
And there you have it. 7 wonders of the world that make up a thing called 'Bangsawan'. And we won only one prize less than the champion. Good job everyone.